There are some singers and songwriters that seem to have a sadness that runs under their music no matter how bright and poppy and bright their melodies are. Evan Dando is one, J. Mascis is another and so is Jackson Brown. But for me, the Meat Puppet’s Curt Kirkwood has always been the master of this elusive feeling. He has a resignation and weariness in his delivery that just leaves my heart feeling buoyant and flattened at the same time.
Mirage is from the album of the same name. It’s one of the first Meat Puppet’s records to benefit from real studio production. The instruments are crystal clean and the harmonies are spot on.
I recently watched the Royal Shakespeare Company’s 2010 production of Macbeth on Amazon Prime starring Patrick Stewart. The play is set in surreal version of World War II Russia, employing a vaguely Stalanist motif. It’s a version of the play that’s dark, intense and very claustrophobic. in other words, excellent.
It’s been some time since I really engaged with Shakespeare and I found it really helpful to watch the play with the closed captions on. It made following the subtleties and beauty of the writing a lot easier. Afterward I went online and brushed up a bit on the history and interpretations of the play (including it’s reputation as cursed play, which I’ll write about later) and came across a wonderful site called No Sweat Shakespeare.
When I was first reading shakespeare as teenager I would have eaten up a resource like this. At the time I had Coles Notes (Cliff Notes in America) to help me understand the plays, along with the somewhat mediocre help of teachers. But I certainly didn’t have anything of this caliber. No Sweat Shakespeare features plays and even specific soliloquys written out in modern language that help really drive home the meaning and artistry behind the words:
Spoken by Macbeth, Macbeth Act 5 Scene 5
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
“Tomorrow, And Tomorrow, And Tomorrow” Soliloquy Translation:
How the days stretched out – each one the same as the one before, and they would continue to do so, tediously, until the end of history. And every day we have lived has been the last day of some other fool’s life, each day a dot of candle-light showing him the way to his death-bed. Blow the short candle out: life was no more than a walking shadow – a poor actor – who goes through all the emotions in one hour on the stage and then bows out. It was a story told by an idiot, full of noise and passion, but meaningless.
Bryan Ferry has been on a bit of a retro tear as of late. His last album, 2008’s Olympia, opened with a sound that was more than a little reminiscent of those last vibrating bars that close out True to Life, the final track on Roxy Music’s Avalon. The effect was to create a sense of continuity between Roxy’s last album and the first track on Olympia, as though the record had somehow emerged from a time warp nearly 30 years later.
Unfortunately, Olympia – despite the glam Kate Moss album cover and retro keyboard sounds – was not quite the companion piece to Avalon that we all would have liked. The production was a bit too loose. The songs, unrefined. But then, Avalon is truly one of the greatest albums of all time. A work I would probably but in my top twenty if not top ten.
The best sequels to Avalon were the two Solo album’s Ferry released immediately after Roxy Music disbanded: 1985’s Boys and Girls ( which according to wikipedia is often called Avalon II) and 1987’s Bête Noire. With production help by Rhett Davies and Patrick Leonard respectively, these albums delivered intense, exotic sophistication. Jazz, funk, and ethereal, distinctly eighties electronic sounds melding together to create a dark night of blue-eyed soul.
As Ferry’s catalogue developed, he gradually moved away from the the subtle, hyper-detailed ambience of these eighties landmarks. 1993’s Taxi was still interesting but with each successive album Ferry has become more and more of the traditional crooner he has so long been modeling his image after. This transformation probably reached its zenith with 1999’s As Time Goes By, a collection of jazz standards, along with 2007’s Dylanesque.
With Avonmore, Ferry has finally returned to the promise shown in his two Eighties works. Rhett Davies is working once more in the producer’s chair and the album is chock full of interesting performers including Niles Rogers, Flea, Johnny Marr, Maceo Parker and Ronnie Specter.
All of these ingredients create a work that is satisfying on a lot of levels. Most of all because it’s so great to a see an artist who has explored so many different avenues of musical expression return to what they do best and truly deliver.
The Source Family were a new religious movement a.k.a cult that existed throughout the 1970’s. The enigmatic Father Yod standing as the group’s leader and patriarch.
During the group’s heyday they were primarily known for their health food restaurant on Sunset Blvd. a chic place, among the first of it’s kind frequented by Hollywood stars and earning rave reviews for their more natural approach to cooking. In many ways the place was ahead of its time, anticipating many trends that would emerge as a dominant part of restaurant culture in the 2010’s.
What the group was less known for was their music – long, intensely psychedelic jams much akin to the work of Can, Faust and other avant-garde Krautrock groups of the era. The releases have become highly collectible and sought-after. Fortunately, as with most things in the world, many of the recordings have been digitized and uploaded to YouTube. And so here is one of there very best albums, Penetration: an Aquarian Symphony.
The full story of the Source family can be found in this incredible documentary:
Using instructions found on Github, I successfully changed the system font on my Mac from Yosemite’s default Helvetica Neue to San Francisco, Apple’s newly designed font for the upcoming iWatch.
While I won’t be getting an iWatch because I don’t need a computer actually strapped to my body, I do think the font that it uses is quite nifty: a clean, adaptive sans serif that, for some treason I haven’t quite figured out yet, is a lot easier on the eyes than Helvetica Neue.
What can I say? It feels like a brand new machine!
It seems as though every day we are coming closer and closer to living in what we perceive to be The Future. In fact, a brief walk down 23rd street and you’ll know that we’re there already, judging by the amount of people staring into the small black rectangle they are holding in their hands.
But the “The Future” is about a lot more than ubiquitous computing and telecommunications. It’s a time and place full of marvelous feats of engineering, biological breakthroughs and mastery over the natural world.
This list of emerging technologies page on wikipedia is like a ones-stop-shop for every interesting technological development happening right now. It’s great place to keep track of “The Future” as it arrives.
In addition to being a really handy list, the technologies are broken down by industry (Agriculture, home appliance, etc.) and then into a handy table that includes the potential applications of the innovation along with links to relevant articles, and perhaps most interestingly a box for marginalized technologies – that is current technologies that will be replaced by new innovations.